The bicentenary of the births of the Brontë siblings, Charlotte, Branwell, Emily and Anne, is due to be celebrated with a series of public events from 2016 onwards.
All four of the Brontës (well, except for Branwell, the often-forgotten brother) are noted for their enduring contributions to English literature, and between them they produced classic novels Jane Eyre, Wuthering Heights and The Tenant of Wildfell Hall among others.
But if you were lucky enough to have been born into this family of literary superstars, where would you fit? Would you be remembered forever as a literary genius, or die tragically young without fulfilling your true potential? Take this quiz to find out! (Spoiler: all of them died tragically young.) (Charlotte Runcie)

I've noticed, this month, how much stock I place in feeling in the theatre. I want my theatre to shake me, to stir me, to move me. I want watching to involve more than watching, and the shows I've really loved in recent weeks are testimony to that. I've raved about those that got into my body, and not just my brain: Jane Eyre, with its rhythmic, runaway pulse; The Crucible, shrill and scratchy as fingernails down blackboards; Lela and Co, dragging us down into darkness, raising gasps with every galling interruption; the taboo-twisting queasiness of Harrogate.

At the Budleigh Salterton literary festival last month, I talked to Hilary Mantel about the books she holds most dear. On her list were Kidnapped by Robert Louis Stevenson, Jane Eyre by Charlotte Brontë, and Molly Keane’s Good Behaviour, a marvellous novel from 1981 about an aristocratic Anglo-Irish family in which nothing is as it seems.

VilaWeb (Spain) has an article on Guillermo del Toro and his new film Crimson Peak:

For [Emmeline] Pankhurst or [Meryl] Streep to call themselves slaves is incredibly tone-deaf to this history. The feminist language of Pankhurst’s time had a troubling tendency to appropriate the language of slavery. As another example, look at Charlotte Brontë’s Jane Eyre, a narrative with themes of female empowerment that features a protagonist whose voice uses elements of the slave narrative. White women did not experience slavery, and their use of the word “slave” is incredibly offensive to those who were enslaved. (Charline Jao)